BARROW

Question 1

Do Stuff

Answer 1

Physical Tasks to Connect to Environment

Question 2

Continue Activity

Answer 2

Do not stop activity when speaking.

Question 3

Conversation Exercise

Answer 3

Slip into TEXT during a normal conversation.

Question 4

Dovetail

Answer 4

Overlapping, Interrupting before trigger line is complete.

Question 5

Physical Intentions Movement

Answer 5

Do not move for PSYCHOLOGICAL reasons.

Question 6

Look Before Crossing

Answer 6

Glance at Destination before moving.

Question 7

Entrances + Exits

Answer 7

Be engaged during Entrances + Exits with a task.

Question 8

Confide Onstage

Answer 8

Look for places to add CONFIDING WHISPERS, or other SECRET MAKING.

Question 9

Break up the Line

Answer 9

No stiff, straight lines onstage.

Question 10

Eyeballing

Answer 10

Breakup eye contact between scene partners.

Question 11

Touch the…

Answer 11

Scenery… props… costumes… touch the environment.

Question 12

Living Memory

Answer 12

Load PROPS, COSTUMES, ENVIRONMENT with tokens of LIVING MEMORY.

Question 13

Time Deadline

Answer 13

Give a deadline to complete a task, to create urgency.

Question 14

Time Extension

Answer 14

Invoke an extension of time, to stretch a moment.

Question 15

Get caught in the act

Answer 15

Engaging in private behavior. Caught by AUDIENCE or SCENE PARTNER.

Question 16

Contrary Impulse

Answer 16

Consider OPPOSITE reaction before the one WRITTEN.

Question 17

Just Say It

Answer 17

Say the line, remove the “acting”

Question 18

Reverse Behavior

Answer 18

Play the reverse behavior that the text suggests.

Question 19

Lying

Answer 19

Be the best liar possible, subvert AUDIENCE EXPECTATION

Question 20

Leave Emotion Alone

Answer 20

Don’t TRY to feel anything.

Question 21

“Real” Thoughts

Answer 21

Allow REAL THOUGHTS, FEELINGS, and OBSERVATIONS play.

Question 22

Expect the opposite.

Answer 22

When approaching a SURPRISE or REVEAL, expect the stark, total opposite to stoke reaction.

Question 23

Basic What’s Going On?

Answer 23

Articulate the “what’s going on” in this scene in a simple, emotionless statement.

Question 24

Make it Hot

Answer 24

Choose an evocative, enrapt choice.

Question 25

Impulse Cue

Answer 25

Attach WANT to response to an earlier scene partner’s line, to make you WANT to talk sooner.

Question 26

Make it Unimportant

Answer 26

Choose few details, throw the rest away,

Question 27

Transformations

Answer 27

Reduce to simplest elements

Question 28

Scene Partner Objective

Answer 28

Determine the OBJECTIVE of the other, play the OPPOSITE OBJECTIVE.

Question 29

Get to It

Answer 29

Get to it as DIRECTLY and EFFICIENTLY as possible

Question 30

Physicalize your Intentions

Answer 30

How would I communicate this moment if I couldn’t speak.

Question 31

Softening Terms

Answer 31

Maybe, Kinda, Sorta, If you want…

Question 32

Self Similarities + Differences

Answer 32

Focus on the Differences, ignore the similarities.

Question 33

Conservative Reaction

Answer 33

Run away from conflict, avoid conflict, conservative law doesn’t allow for it.

Question 34

Suppress Animal Urges

Answer 34

Attempt to remain civilized, controlling primitive urges.

Question 35

Don’t let the neighbor hear

Answer 35

Keep arguments quiet, or at least try.

Question 36

Get it Over With

Answer 36

Try to get conflict over as quick as possible.

Question 37

Express Frustration

Answer 37

THROUGH the TEXT.

Question 38

Personal Habits

Answer 38

Beware of personal habits, physical idiosyncrasies. Relax, remove.

Question 39

Connect the ACTION Dots

Answer 39

Establish + Connect TEXT to series of actionable events.

Question 40

Follow Through

Answer 40

If INTERUPTED, return to the ORIGINAL TASK and FINISH.

Question 41

Stalling

Answer 41

Add activity to a STALL to give it reason and purpose.

Question 42

Face-Off

Answer 42

Don’t face off. Perform task.

Question 43

Easy or Difficult

Answer 43

Is what the character’s trying to say EASY or DIFFICULT

Question 44

Objective Flip Flop?

Answer 44

If the character seems to have TWO or MORE objectives in a scene, find ONE that makes sense and play THAT.